MUSIC


It is possible for LS&A students to elect a concentration program in music, and this program is described in the LS&A Bulletin. In addition, music courses are frequently elected by LS&A students not concentrating in Music. Courses in Music History/Musicology, Composition, and Music Theory are elected for LS&A credit. Some of these courses can be used as part of the humanities requirement in a PATTERN I area distribution plan. LS&A students may elect music PERFORMANCE courses for degree credit, but this credit counts toward the maximum twelve non-LS&A credit hours that can be applied toward an A.B./B.S. degree or twenty non-LS&A credit hours that can be applied toward a B.G.S. degree.


Music History and Musicology (MHM: Division 678)

341. Introduction to the Art of Music. For non-School of Music students only. (3). (HU).

This is a course in listening to music. By studying the various genres, styles, and aesthetic ideals of Western art music, you will learn how to listen perceptively and creatively. No musical background is necessary. The course begins with the elements of music. Through a brief survey of the artistic and cultural heritage of Western music, we will concentrate on symphony, opera and concerto, and song, by Baroque, Classical and Romantic composers. We will also discuss the different styles and trends in twentieth-century music. There are three lectures and one discussion section per week. Tapes of assigned works are available for private study in the MLB Language Lab. The course grade is based on three exams, a concert report, and a few short writing assignments. This is the first course suggested for the LS&A concentration in Music. (Monson)

346. The History of Music. For non-School of Music students only. MHM 341 or 345. (3). (HU).

This course will be concerned with what is loosely called the Western "high art" tradition from about 1750 to the present. That is, we will be studying music that was mostly supported by aristocratic and Church patronage in the eighteenth century, bourgeois patronage in the nineteenth century, and academic, governmental, and artistic patronage in the twentieth century. This includes the music of composers such as Mozart, Beethoven, Berlioz, Wagner, Schubert, Brahms, Verdi, Tchaikovsky, Debussy, Stravinsky, Schönberg, Copland, Cage, Babbitt, Glass, Adams and others. This is not a "music appreciation" class; the goal will not be simply to inspire uncritical adulation of "great music." Rather, in three lecture/discussion sessions each week, we will discuss musical examples and historical documents the better to understand history through music and music through history. No previous background in musical study is necessary. (Walser)

405. Special Course. (2-4). (Excl). May be repeated for credit.

This course is open to graduate and advanced undergraduate students in any area of the humanities. It will focus on the most popular mass music of the 1980s Prince, Springsteen, Madonna, U2, Guns N' Roses, Public Enemy but the course is not primarily an historical survey of this period in American music. The main emphasis will be on examining and evaluating recent work in cultural theory and analysis, with its applicability to popular music studies in mind. We will read and discuss the insights and methods of structuralism, poststructuralism, feminist criticism, psychoanalytic and anthropological critiques, semiotics, reader-oriented criticism, British cultural studies and various other approaches currently used by critics of popular music. Extensive reading will be required (approximately a book each week), as well as a class presentation, a few short writing assignments, and a substantial term paper. Class will meet in seminar format, once each week for three hours. (Walser)

407. Special Course. (2-3). (Excl). May be repeated for credit.

Section 001 MUSIC, THEATER, AND SOCIETY. The aim of this course is to investigate the several ways in which social factors, economic incentives, societal and political contexts, literary trends, and musical developments interacted to produce significant works in the European musical-theatrical repertory of the period 1570-1740. The course is interdisciplinary and will be organized by topics, e.g., Florence and Mantua ca. 1570-1610. Venice ca. 1640, Paris under Louis XIV, Madrid ca 1650-1685, etc. We will study and listen to whole works from several genres (madrigal comedy, pastoral opera, Venetian public opera, tragedie lyrique, semi-opera, zarzuela, and Handelian opera seria). In addition, we will read and study extracts from influential works of spoken theater related to each of the musical genres. Students will e responsible for assigned readings and listening, class discussion, two short class presentations, a short written assignment, and a longer research or analytical paper. Open to students in the School of Music and to Graduate and advanced undergraduate students in LS&A, especially those in theater, modern languages, philosophy, history, sociology, art history and related fields. Enrollment limit: 15 students. (Stein)

459. Music Cultures of Africa and South America. (3). (Excl).

This course is a survey of the musics of the Caribbean, Mexico, South America and Africa. Each genre will be considered within its cultural context. No musical background is necessary. Listening tapes supplement the lectures. The course grade is based upon listening quizzes in which the student is asked to identify the examples, a midterm and a final exam. Depending upon scheduling, attendance at some live performances may be required. (Becker)

461. The Music of Asia. (3). (Excl).

This course is a survey of the musics of the Middle East, India, Southeast Asia, China, Korea and Japan. Each genre will be considered within its cultural context. No musical background is required. Listening tapes supplement the lectures. The course grade is based upon listening quizzes in which the student is asked to identify the examples, a midterm and a final exam. Depending upon scheduling, attendance at some live performances may also be required. (Becker)


Composition (Division 665)

221. Introduction to Elementary Composition. For non-School of Music students only. (3). (Excl).

Designed for students with limited musical background who wish to gain an understanding of the creative process and acquire a greater appreciation for contemporary music by composing. The course investigates traditional compositional crafts, as well as more current or experimental tendencies, including pop, ethnic and jazz idioms. Directed student creative projects receive individual attention. While no prerequisites are required, the ability to read music is strongly recommended.

222. Composition. For non-School of Music students only. Composition 221. (3). (Excl).

A continuation of Composition 221 (see description), this course serves as an introduction to instrumental idiom and a study of musical structure through individual creative effort.

421. Creative Composition. Non-School of Music students must have completed Composition 222 or Theory 238. (3). (Excl).

An introduction to composition for students interested in concentrating on original creative work in contemporary idiom. Student creative projects for which individual instruction is provided, are complimented by by-weekly lectures, investigating appropriate aspects of musical language and compositional craft.

422. Creative Composition. Composition 421. (3). (Excl).

See description for Composition 421.

423. Advanced Composition. Composition 422. (2-4). (Excl).

For students capable of original creative work. Individual instruction with course instructor is provided. Participation in a weekly seminar devoted to the examination of a broad range of Twentieth Century literature is required.

424. Advanced Composition. Composition 423. (2-4). (Excl).

See description for Composition 423. [COST]

425. Advanced Composition. Comp. 424. (2-4). (Excl).

Stresses the shaping and instrumentation problems involved in composing for the mixed consort and examines differing approaches to musical notation. Weekly seminar participation is required.

426. Advanced Composition. Comp. 425. (2-4). (Excl).

See description for Composition 425.

521. Seminar in Composition. Composition 424. (2-4). (Excl).

Addresses the problems of composing for large instrumental forces, including orchestra. Special attention is given to craft, instrumentation techniques and personal statement. Score preparation and performance material extraction, manuscript reproduction methods and presentation are stressed. Participation in a seminar concerned with the detailed study of recent compositions, techniques and esthetics is required.

522. Seminar in Composition. Composition 521. (2-4). (Excl).

See description of Composition 521. (Albright)


Theory (Division 696)

238. Introduction to Musical Analysis. Theory 237. (3). (Excl).

An introduction to music analysis and an overview, dealing primarily with tonal forms. Phrase structure, simple binary and rounded binary forms are used to lead the student to examples of larger tonal movements, culminating in sonata-allegro and rondo forms. Examples are drawn from throughout the standard repertoire, but with a concentration on Beethoven piano music. Additionally, contrapuntal techniques are illustrated with examples from the Baroque, and the twelve-tone system is briefly outlined with examples from Schönberg. (Mead)


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